00:00
He’s on his stomach and you have the grunt
00:02
going to punch him.
00:04
Instead, why don’t to have him grab him
00:06
by the head and just kind of yank-
00:10
[clapperboard snaps]
00:14
Pull, pull, pull, pull!
00:16
Snaps neck, snaps neck!
00:29
[suspenseful music]
00:38
Dodge out of the way.
00:40
Crack him out there.
00:41
Wham! Right on the top of the head
00:44
and crack the skull open that way.
00:45
[Glen] We ready to do some deaths today?
00:52
You are in our mo-cap stage.
00:55
Only studio, AAA studio,
00:56
in this whole area that has one of these.
00:59
It’s a big investment.
01:00
It goes through the long way
01:01
of having quality in your animations.
01:05
So we started with Byrd striking at Primo.
01:07
Primo’s going to use a player dodge to get out of the way.
01:11
He strikes to the legs, which swipes him out.
01:13
He comes up, crack, splits the head open.
01:17
This is the environment we’re thinking about
01:18
having this take place in.
01:20
Maybe we have him- Wait, against the wall?
01:21
Yeah. Maybe drive him against the wall or something.
01:23
I like that. You like that idea?
01:25
Actually, guys, let’s try this.
01:26
Let’s bring a wall in.
01:37
And there’s our set.
01:38
Compare that to movies, huh?
01:48
This is Chris Stone,
01:48
he’s a chief creative officer and,
01:51
he was the one who kept telling me
01:53
I need to buy one of these, so we did.
01:55
This is Primo, Animation Director,
01:57
and been working with you a long time.
02:00
And Byrd here is new, but he knows how to run one of these
02:03
and this is his office.
02:06
Truth is, is that I get into the mo-cap room
02:09
but all I have to do is give them my direction and you know,
02:12
90% of the time they do it on their own.
02:14
So the great thing is, I know I have the freedom
02:18
to ask them to fix anything at any time.
02:27
[Chris] Without a doubt, without this stage,
02:29
we wouldn’t be able to hit the quality
02:30
that we want on this project.
02:32
You know, having these guys suit up
02:34
being able to do this stuff,
02:35
being able to prototype character styles
02:38
and things like that.
02:39
You know, when you have a big whole monster with tentacles
02:41
and giant arms, there’s not reference for how that moves.
02:44
So being able to have someone on the stage to move around
02:47
figure that stuff out, you know
02:48
it’s pretty critical in, in finding that.
02:50
What you see around here, every one of these little guys,
02:52
the blue lights, those are our cameras.
02:55
Those cameras are basically snapping somewhere
02:57
in the neighborhood.
02:58
200 to 300 images every single second.
03:01
From the second we hit record,
03:03
those things strobe a light.
03:04
Now, you can’t see it with your eye,
03:06
but the cameras are picking it up.
03:07
And what they’re doing is they’re reflecting
03:09
off of every single one of these little markers.
03:11
Even on the virtual camera here, right?
03:13
So as they move, for every second
03:15
we’re getting 300 samples of their motion.
03:18
Same thing with this,
03:19
you know, our virtual camera allows us
03:20
to basically have a full virtual production studio here.
03:23
So in the same way that a director would have a camera
03:26
or a cinematographer would have a camera on a set,
03:29
we use this on our motion capture stage.
03:31
You know, what are those guys gonna look like?
03:32
You know, I can see that over there.
03:34
I can see that on my camera here and I know exactly
03:36
what every single composition is going to be.
03:38
So when Glen comes in, I can show him this and say,
03:41
Hey, thinking about something around in here for this kill.
